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  1. OL Raleigh Gothic A Display by Dennis Ortiz-Lopez, $40.00
  2. OL Titling Deco Semi Hilight by Dennis Ortiz-Lopez, $40.00
  3. OL Raleigh Gothic B Display by Dennis Ortiz-Lopez, $40.00
  4. OL Fangs for the Memories by Dennis Ortiz-Lopez, $30.00
  5. OL Hebrew David Deco Linear by Dennis Ortiz-Lopez, $30.00
  6. Monotype Goudy Catalogue by Monotype, $29.99
    Originally designed for American Type Founders, Goudy drew inspiration from the classical old style faces for Goudy Old Style. Round characters have a strong diagonal stress, ascenders are fairly long but descenders are very short. Goudy bold was introduced in 1920; this was designed by Morris Fuller Benton. This typeface has been particularly popular in America where it is extensively used in advertising, book jackets, for labels and packaging.
  7. Bodoni Ultra by Wooden Type Fonts, $15.00
    A classic bold face.
  8. Twine by Wilton Foundry, $29.00
    By twisting and weaving separate strands of rope together, a stronger TWINE is created. The distinctive “valleys” that give the twine its twisted and wavy appearance is the result of the twining process. Similarly, TWINE the font, is an exaggerated representation of the calligrapher’s individual pen strokes that create a cohesive character which is enhanced with the stencil. Unlike other stencils, TWINE emphasizes calligraphic strokes, so you will find it very legible even in small point sizes. Check it out! Furthermore, twine is inspired by Plantin, an old-style serif typeface named after the printer Christophe Plantin, which is based on the 16th century Gros Cicero face cut by Robert Granjon. Twine is a great choice when you need a font that is timeless, contemporary and distinctive. Perfect for Advertising, Corporate identities and Packaging design, Museum display, Technology, Hospitality, Travel, and Retail applications. Twine is available in TWINE Regular, TWINE Italic, TWINE Bold, TWINE Bold Italic. It is a Stencil that is Distinctive, Contemporary, and Timeless.
  9. ITC Modern No. 216 by ITC, $40.99
    Modern typefaces refer to designs that bear similarities to Bodoni and other Didone faces, which were first created during the late 1700s. Ed Benguiat developed ITC Modern No. 216 in 1982 for the International Typeface Corporation (ITC). Showing a high degree of contrast between thick and thin strokes, as well as a large x-height, this revival is more suited to advertising display purposes than the setting of long running text, or books. Many traits in Benguiat's design are worth further notice. The thick stems of the roman weights have a very stately, solid presence. Their thin serifs have been finely grafted on, a masterful solution to the challenge of bracketing presented by Modernist designs. The italic weights have a very flowing, script-like feel to them, and the letters take the form of true italics, not obliques. The ITC Modern No. 216 family contains the following font styles: Light, Light Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, and Heavy Italic.
  10. John Sans by Storm Type Foundry, $49.00
    The idea of a brand-new grotesk is certainly rather foolish – there are already lots of these typefaces in the world and, quite simply, nothing is more beautiful than the original Gill. The sans-serif chapter of typography is now closed by hundreds of technically perfect imitations of Syntax and Frutiger, which are, however, for the most part based on the cool din-aesthetics. The only chance, when looking for inspiration, is to go very far... A grotesk does not afford such a variety as a serif typeface, it is dull and can soon tire the eye. This is why books are not set in sans serif faces. A grotesk is, however, always welcome for expressing different degrees of emphasis, for headings, marginal notes, captions, registers, in short for any service accompaniment of a book, including its titlings. We also often come across a text in which we want to distinguish the individual speaking or writing persons by the use of different typefaces. The condition is that such grotesk should blend in perfectly with the proportions, colour and above all with the expression of the basic, serif typeface. In the area of non-fiction typography, what we appreciate in sans-serif typefaces is that they are clamorous in inscriptions and economic in the setting. John Sans is to be a modest servant and at the same time an original loudspeaker; it wishes to inhabit libraries of educated persons and to shout from billboards. A year ago we completed the transcription of the typefaces of John Baskerville, whose heritage still stands out vividly in our memory. Baskerville cleverly incorporated certain constructional elements in the design of the individual letters of his typeface. These elements include above all the alternation of softand sharp stroke endings. The frequency of these endings in the text and their rhythm produce a balanced impression. The anchoring of the letters on the surface varies and they do not look monotonous when they are read. We attempted to use these tricks also in the creation of a sans-serif typeface. Except that, if we wished to create a genuine “Baroque grotesk”, all the decorativeness of the original would have to be repeated, which would result in a parody. On the contrary, to achieve a mere contrast with the soft Baskerville it is sufficient to choose any other hard grotesk and not to take a great deal of time over designing a new one. Between these two extremes, we chose a path starting with the construction of an almost monolinear skeleton, to which the elements of Baskerville were carefully attached. After many tests of the text, however, some of the flourishes had to be removed again. Anything that is superfluous or ornamental is against the substance of a grotesk typeface. The monolinear character can be impinged upon in those places where any consistency would become a burden. The fine shading and softening is for the benefit of both legibility and aesthetics. The more marked incisions of all crotches are a characteristic feature of this typeface, especially in the bold designs. The colour of the Text, Medium and Bold designs is commensurate with their serif counterparts. The White and X-Black designs already exceed the framework of book graphics and are suitable for use in advertisements and magazines. The original concept of the italics copying faithfully Baskerville’s morphology turned out to be a blind alley. This design would restrict the independent use of the grotesk typeface. We, therefore, began to model the new italics only after the completion of the upright designs. The features which these new italics and Baskerville have in common are the angle of the slope and the softened sloped strokes of the lower case letters. There are also certain reminiscences in the details (K, k). More complicated are the signs & and @, in the case of which regard is paid to distinguishing, in the design, the upright, sloped @ small caps forms. The one-storey lower-case g and the absence of a descender in the lower-case f contributes to the open and simple expression of the design. Also the inclusion of non-aligning figures in the basic designs and of aligning figures in small caps serves the purpose of harmonization of the sans-serif families with the serif families. Non-aligning figures link up better with lower-case letters in the text. If John Sans looks like many other modern typefaces, it is just as well. It certainly is not to the detriment of a Latin typeface as a means of communication, if different typographers in different places of the world arrive in different ways at a similar result.
  11. Pony Tale Pro by Jonahfonts, $45.00
    Pony Tale Pro is a handwritten unconnected script face in eight styles: Light, Regular, Bold and Outline with Italics and Small-Caps. Very suitable for Packaging, Greeting cards, Magazines, Posters and Advertising Ads. A space after any lower-case glyph will produce the word terminal, invoking the OpenType/CONTEXTUAL ALTERNATIVE variant. (Opentype variants may only be accessible via Opentype-Aware applications.)
  12. Keymer by Talbot Type, $19.50
    Talbot Type Keymer is inspired by Margaret Calvert's Transport typeface, designed for the British road sign system in the early 1960s. Keymer mixes geometric and humanist traits to achieve a modern, clean, elegant appearance. It is a legible and versatile text and display face available in seven weights. Keymer features an extended character set to include old style numerals, accented characters for Central European languages and bespoke characters in the italic for a more flowing look.
  13. Cassia by Hoftype, $49.00
    Cassia - a dynamic ‘Egyptienne’ with contrasting Italics and a classical appearance. More individual and agile and less cold than most Slab Serifs, it joins impetuosity with vitality. In display sizes it dazzles through its lusty appearance, and, even in the smallest sizes, it works superbly for large amounts of text. Cassia comes in ten styles, in OpenType format and with extended language support for more than 40 languages. All weights contain small caps, standard and discretional ligatures, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals.
  14. LTC Globe Gothic by Lanston Type Co., $24.95
    This series of faces was designed initially by Morris Fuller Benton, circa 1900. The design is a refinement of Taylor Gothic from 1897. It features a sans serif thick and thin design with angular stems. Pre-dating art deco, this design feels quaint, yet it still has a touch of modernism. Frederic Goudy designed a bold version of Globe Gothic in 1905 for ATF. The Bold and Bold Italic digital versions have been added to the LTC library in early 2007.
  15. JBP Pro by PizzaDude.dk, $25.00
    Wicked, cheeky and geeky! That's what went through my mind when updating this font. Originally made around year 2000, and now it comes in a restored and updated version. I cleaned up all curves and lines, added multilingual support and kerning. Based upon classic typefaces like Bodoni and Baskerville, but far more unpredictable and wild.
  16. Boge LP by LetterPerfect, $39.00
    Boge LP is a new font family designed to communicate lucidly in text as well as in headlines and titles. The family consists of Regular, Italic, Bold, Bold Italic & Black. Character sets include a full compliment of multi-language support and fine-tuned kerning to make Boge™ a smart choice for professional quality typography from text to billboard-sized advertising. Regular and Bold styles include designed small caps and old-style numerals accessed as OpenType features. An original serif design, Boge blends traditional aesthetic with contemporary refinement. Its hallmarks are: clarity, readability, geniality, competence. The five related styles provide a strong palette for coloring words, text and ideas with quiet authority. Garrett Boge has been designing type for over 30 years, working with Apple, Microsoft, Adobe, Disney and numerous corporate clients. His background in calligraphy, commercial lettering, graphic design, and typography has been channeled into creating this namesake design. Boge Text joins his other popular faces — Spring, Florens, Bermuda, Spumoni, Longhand, Tomboy, Wendy — under the LetterPerfect Fonts brand, marketed through Monotype and its partners.
  17. Bayview JNL by Jeff Levine, $29.00
    Around the turn of the 20th Century, the Inland Type Foundry produced a display face named Studley. It was a variation on a design by another foundry called Florentine. A condensed face with a bold, clean look, the design resembled the warmth and feel of a classic wood type. Best applied to headlines and titles, the font reads amazingly well at even 18 point renderings. Jeff Levine had added his own personal touch to his digital version of this old favorite and renamed it Bayview JNL.
  18. Målestok by Wilton Foundry, $39.00
    The Målestok family (Light, Light Italic, Bold, Bold Italic) is an eclectic solution for a broad range of applications. The rounded outer corners combined with select stencil effects makes for an interesting and friendly face. In large sizes, the bold version is strong and engaging, while the lighter weights are stylish and friendly. Thanks to its distinctive slightly technical style, both print and interactive designers will find that Målestok provides a multitude creative options with the perfect solution to draw attention with style. Målestok family his ideal for branding, collateral, advertising and packaging design. Målestok also fits comfortably in fashion , retail and sport related categories. Målestok family was designed in Norway, The Netherlands and USA.
  19. Angie Lou by FontFuel, $12.00
    Angie Lou is a contemporary clean informal face. More formal than most handwritten faces, it surprises the eye with its clean rhythm. It gives that "marker on paper" or "dry erase board" feel. But the thin nature of Angie Lou sets it apart from most marker style fonts. Angie Lou offers two variants: regular and italic.
  20. Strongbox JNL by Jeff Levine, $29.00
    Strongbox JNL is based in part on an incomplete sample of an old wood type alphabet seen on an image sharing site. Commonly known as a grotesk (or grotesque) face, this style of sans serif lettering is well-suited for headlines, display work, price cards or anything where a bold, condensed typeface is needed.
  21. Cynosure by Device, $39.00
    Cynosure is a humanist sans with a subtle thick/thin stress. This gives it a clean, sharp elegance and precision that can be missing in some more familiar monoline sans faces. The wide range of weights and the matching reweighed italics make it a versatile solution where a consistent appearance across a broad range of applications is required. Its clear and inarguable design make it suitable for a wide variety of uses, from corporate to entertainment, text to headline, signage, logotypes, magazines and reports. The italics retain the design of the upright across all characters, again ensuring consistency. Includes tabular, lining and old-style numerals.
  22. Snoofer by Cool Fonts, $19.95
    Snoofer is a modern font that works for both display and text. It comes in 4 weights(Regular, Italic, Bold, Bold Italic). Snoofer was inspired by a character in stories my dad told me as a kid. Somehow they always ended with "... and they never left home again." Enjoy!
  23. Alma Serif by Alma Type, $19.00
    Alma Serif is a typeface that tries to combine the modern shape of serif magazines such as Times New Roman with the atmosphere of classic typefaces such as Baskerville. I was working on the universality of the typeface, so that it would be suitable for both long papers and books, but also for formatting narrow columns in magazines.
  24. Sole Serif by CAST, $45.00
    Sole Serif is a newspaper face with features relating to book typography. Inspiration from Francesco Griffo’s romans was adapted to resist the rough usage typical of newspaper printing without any loss of quality. Sole Serif is available in an extensive range of cuts including extra bold and ultra thin. With its big x-height, short ascenders and a roundish and wide italic for text and titles, it has all the attributes of a newspaper face. Nonetheless, details like the inclined axis, calligraphic terminations, Renaissance proportions and a refined but slightly mannered design, all evoke the book rather than the daily paper.
  25. Marco by TypeTogether, $49.00
    Marco is a lively text face, with an informal touch, inspired by 15th century Italian letter-forms with strong calligraphic traces and intended to be used primarily in continuous and intensive reading conditions. Marco is full of features required for high-quality book typography, including: strong language-support in extended Latin, Cyrillic and polytonic Greek, a multitude of swashes in the italic styles of Latin and Cyrillic, stylistic alternates to obtain the best possible solutions and other typographic niceties. Inspiration for Marco goes back to Italian humanist typography such as those of Nicholas Jenson or Aldus Manutius, and general influences from calligraphy. As a result, Marco has matured into a personal and unique text face where its lively and somewhat informal style is an ideal counterpart to its careful and ingenious crafting. Toshi Omagari’s Marco features a huge set of over 1900 characters per style —and almost 2600 in the italics— and is available in Regular, SemiBold, Bold with matching Italics.
  26. Life by Linotype, $29.99
    Life was designed in 1964 by W. Bilz and marks the beginning of a new generation of newsprint fonts. The Ionic style had replaced Modern Face and was now replaced by this new innovative style, which mixed elements of Old Face, Transitional and Modern Face forms. Life’s characters are based on the forms of Times and are the result of a time of change and experimentation.
  27. Colmcille by Monotype, $29.99
    Colmcille was designed by a Gaelic scholar, typographer and printer, and first released by Monotype for composition casting in 1936. The design intention was to provide a Gaelic looking type which worked well as a roman text face. The digital version of the Colmcille font family has been made in collaboration with the designer's son, Dara O Lochlainn. A number of changes have been made, including a new set of figures and the addition of a bold weight. Although originally designed as a text face, Colmcille can be used for advertisements, flyers, in fact wherever a touch of Gaelic charm is required.
  28. Camelopard NF by Nick's Fonts, $10.00
    A wooden face, rather prosaically named Gothic Bold, from Hamilton's 1889 specimen book provided the pattern for this bold and brassy face. Both versions support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.
  29. Montreal Architect Px by Letradora, $15.00
    Inspired from blueprints of old Montreal buildings, this font is a hand lettered, all caps face with influences from the arts & crafts movement.
  30. Adamantine by Scriptorium, $12.00
    A super-bold Victorian period display face.
  31. Poliphilus by Monotype, $29.99
    Poliphilus is a facsimile of the text of the 'Hypnerotomachia Poliphili', after which it is named, published by Aldus Manutius in Venice in 1499, using a type that had been cut by Francesco Griffo. As a design, Poliphilus is related to Bembo, but whereas Bembo was redrawn, with the intention of making a new face based on an old design, Poliphilus is an exact copy of fifteenth century printing on hand made paper. So exact in fact that even the original ink spread is reproduced. This may not seem like a very sound idea for a typeface, but the letterforms are good and the design is functionally successful. Blado, the italic for use with Poliphilus, was used by Antonio Blado in 1539, and designed by the calligrapher Ludovico degli Arrighi. The Poliphilus type is used mainly for book and text work."
  32. Keymer Radius by Talbot Type, $19.50
    Talbot Type Keymer Radius is related to Talbot Type Keymer ; where Keymer is square-edged, Keymer Radius is subtly rounded for a softer look. Keymer Radius mixes geometric and humanist traits to achieve a modern, clean, elegant appearance. It is a legible and versatile text and display face available in six weights. Keymer Radius features an extended character set to include old style numerals, accented characters for Central European languages and bespoke characters in the italic for a more flowing look.
  33. Magica by K-Type, $20.00
    MAGICA is a book and display face that is both distinctive and legible – clear letterforms and a generous x-height make Magica a good choice for text or titles. The typeface has elegantly chamfered serifs and a confident, vivacious character that is equally suited to formal and informal usage. Magica is available in three weights – Regular, Medium and Bold – each supplied with a free italic.
  34. Stempel Garamond LT by Linotype, $29.99
    Opinion varies regarding the role of Claude Garamond (ca. 1480–1561) in the development of the Old Face font Garamond. What is accepted is the influence this font had on other typeface developments from the time of its creation to the present. Garamond, or Garamont, is related to the alphabet of Claude Garamond (1480–1561) as well as to the work of Jean Jannon (1580–1635 or 1658), much of which was attributed to Garamond. In comparison to the earlier Italian font forms, Garamond has finer serif and a generally more elegant image. The Garamond of Jean Jannon was introduced at the Paris World’s Fair in 1900 as Original Garamond, whereafter many font foundries began to cast similar types. The famous Stempel Garamond interpretation of the 1920s remains true to the original Garamond font with its typical Old Face characteristics. The bold italic was a modern addition at the end of the 1920s and the small caps provided an alternative to the standard capital letters. In the mid 1980s, a light version was added to Stempel Garamond. Since its appearance, Stempel Garamond has been one of the most frequently used text fonts.
  35. Calling Code by Dharma Type, $-
    Calling Code — very nice monospaced font — 1. is a monospaced font family for coding and tabular layout. 2. simply consists of 4 style, Regular, Italic, Bold and Bold Italic. 3. is ready in both OpenType and TrueType formats. 4. has slightly condensed width for more useful space. 5. has good distinguishability and legibility and cute curly tails. 6. brings a fresh sensitivity to boring old existing monospaced fonts. You can try Regular style for free.
  36. ALS Mirta by Art. Lebedev Studio, $63.00
    ALS Mirta is a clean text type well-suited for use in typesetting of smart volumes and kids’ books. A fine and well-balanced antiqua face is complemented by surprisingly vigorous sophisticated italics.
  37. Seahorse by Drewfonts, $30.00
    Originally inspired by the natural beauty of seahorses and their environment. It has the appearance of a turn of the century display face, but is in fact completely new and original to Drewfonts.
  38. Bayern Handschrift NF by Nick's Fonts, $10.00
    A hundred-year-old offering from Bauer & Company, named simply "Manuscript," provided the inspiration for this elegant script face. The name translates as Bavaria Handwriting.
  39. High Intensity by BA Graphics, $45.00
    A solid powerful Bold condensed face great for headlines and sub heads and in some cases even as a text face. High Intensity will definitely get your attention.
  40. Union Telegraph NF by Nick's Fonts, $10.00
    Discovered in The Zanerian Manual of Alphabets and Engrossing was this quaint charmer, called simply "Italic Roundhand". The manual touts this face as plain, practical and rapid; it's lovely, luscious and nostalgic, as well.
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